Each one of these bodies (art-works Arp made) certainly signifies something, but it is only once there is nothing left for me to change that I begin to look for its meaning, that I give it a name.
As the thought comes to me to exorcise and transform this black with a white drawing, it has already become a surface.. .Now I have lost all fear, and begin to draw on the black surface.
A painting or sculpture not modelled on any real object is every bit as concrete and sensuous as a leaf or a stone... but it is an incomplete art which privileges the intellect to the detriment of the senses.
the streams buck like rams in a tent / whips crack and from the hills come the crookedly combed /shadows of the shepherds. /black eggs and fools' bells fall from the trees. / thunder drums and kettledrums beat upon the ears of the donkeys. / wings brush against flowers. / fountains spring up in the eyes of the wild boar.
In 1915 Sophie Tauber and I carried out our first works in the simplest forms, using painting, embroidery and pasted paper (without using oil colors to avoid any reference with usual painting). These were probably the first manifestations of their kind, pictures that were their own reality, without meaning or cerebral intention. We rejected everything in the nature of a copy or a description, in order to give free flow to what was elemental and spontaneous.
I did exhibitions with the Surrealists (in Paris, in 1929) because their attitude revolted against 'art' and their attitude toward life itself was wise, as was Dada's.
In the good times of Dada, we detested polished works, the distracted air of spiritual struggle, the titans, and we rejected them with all out being.
Wij wezen allles wat kopie of beschrijving was af en lieten het elementaire en het spontane in volle vrijheid reageren. Omdat de plaatsing van de vlakken en de kleuren en de verhoudingen van deze vlakken louter op toeval schenen te berusten, verklaarde ik dat deze werken, zoals in de natuur, gerangschikt waren "volgens de wetten van het toeval", toeval dat voor mij alleen maar een beperkt onderdeel vormde van een onpeilbare reden van bestaan, van een orde die in zijn totaliteit ontoegankelijk was.
In recent times, Surrealist painters have used descriptive illusionistic academic methods.
Already in 1915, Sophie Tauber divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly as Mondrian, Itten and Paul Klee did in the same period, fh). She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: